지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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This paper aims at analyzing Ermek Tursynov’s film <Kelin> through the category of ancient Turkish history and tradition, primitive faith and tengri belief, and the representation of a belief in the coexistence of life in order to examine how the film works as a driving force for the recovery of Kazakhstan’s identity in the post-Soviet era. It is one of the most important current trends of Kazakhstan’s film industry to revive the spiritual and cultural heritage of Central Asian mythology and folk beliefs, which had been forbidden for the Soviet period. From this perspective it is clear that the revival of the heritage of Central Asia will be a valuable subject.
In this film, first of all, an attention should be paid to the structure of mise en scene, of which the director takes advantage to represent his confidence in the spirit and power of the Turks. He presents the relationship between nature and humans through continuous close-up shots, creates the atmosphere of animistic world through the bird’s eye view, and establishes an aura of shamanism through the eyes of wolves and falcons, the totems of the Turks. Of all things, we should take the fact that <Kelin> is a silent film into consideration, in which appears no difference between the language of human and the sounds of animals. These are to reflect the intention of the director, who tries to highlight the world that animals and humans live in harmony with each other.
<Kelin> is not a simple film which reproduces the ancient customs of the Turks, but a film with strong messages. What the director Ermek Tursynov tries to reestablish in this film is new values for the future of Kazakhstan since he believes that it is possible for the present and the future generations of Kazakhstan recovering their national identity only when they are able to keep the memories of the past.
In this film, first of all, an attention should be paid to the structure of mise en scene, of which the director takes advantage to represent his confidence in the spirit and power of the Turks. He presents the relationship between nature and humans through continuous close-up shots, creates the atmosphere of animistic world through the bird’s eye view, and establishes an aura of shamanism through the eyes of wolves and falcons, the totems of the Turks. Of all things, we should take the fact that <Kelin> is a silent film into consideration, in which appears no difference between the language of human and the sounds of animals. These are to reflect the intention of the director, who tries to highlight the world that animals and humans live in harmony with each other.
<Kelin> is not a simple film which reproduces the ancient customs of the Turks, but a film with strong messages. What the director Ermek Tursynov tries to reestablish in this film is new values for the future of Kazakhstan since he believes that it is possible for the present and the future generations of Kazakhstan recovering their national identity only when they are able to keep the memories of the past.
목차
I. 서론
II. 고대 튀르크의 역사와 전통 재현을 통한 정체성 회복
III. 튀르크족의 텡그리 신앙 재현
IV. 튀르크족의 생명 공존과 연속성에 대한 믿음 재현
V. 결론
참고문헌
Abstract
참고문헌 (21)
참고문헌 신청
1. [단행본] - 김진숙 / 2010 / 샤머니즘과 예술치료 / 학지사
2. [학술지(정기간행물)] - 김효정 / 2007 / 튀르크족의 기록에 나타난 ‘텡그리(Tengri)'의 의미 / 한국중동학회논총 28 (1) : 387 ~ 406
3. [학술지(정기간행물)] - 박영은 / 2011 / 카자흐스탄 영화 <스탈린에게 바치는 선물>에 내재된 집단 기억과 민족 정체성 / 외국문학연구 (42) : 75 ~ 104
4. [단행본] - 비텝스키, 피어스 / 2005 / 샤먼 / 창해
5. [단행본] - 엘리아데, 미르치아 / 1992 / 샤마니즘. 고대의 접신술 / 까치
2. [학술지(정기간행물)] - 김효정 / 2007 / 튀르크족의 기록에 나타난 ‘텡그리(Tengri)'의 의미 / 한국중동학회논총 28 (1) : 387 ~ 406
3. [학술지(정기간행물)] - 박영은 / 2011 / 카자흐스탄 영화 <스탈린에게 바치는 선물>에 내재된 집단 기억과 민족 정체성 / 외국문학연구 (42) : 75 ~ 104
4. [단행본] - 비텝스키, 피어스 / 2005 / 샤먼 / 창해
5. [단행본] - 엘리아데, 미르치아 / 1992 / 샤마니즘. 고대의 접신술 / 까치
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UCI(KEPA) : I410-ECN-0101-2014-600-000363716